Martha Glowacki’s Natural History, Observations and Reflections Martha Glowacki’s Natural History | Page 17

Renaissance, trans. Pamela Marwood and Yehuda
Shapiro (Boston: Little, Brown and Company, 1988),
228. Walther Rytz, Pflanzenaquarelle des Hans Weiditz
aus dem Jahre 1529 (Bern: Paul Haupt, 1936).
17 In another Glowacki series, The Psychology of Plants,
where the text is drawn from Julien Offray de la
Mettrie’s Man, a Plant, it is the stem of the thistle that
is tied down. Offray’s text, “L’homme Plante,” was
published anonymously in 1748. For the English trans-
lation of this text, see Julien Offray de la Mettrie, Man
a machine; and, Man a plant, trans. Richard A. Watson
and Maya Rybalka (Indianapolis: Hackett, 1994).
8 Kathryn Reeves, “The re-vision of printmaking,”
IMPACT 1 International Printmaking Conference
Proceedings, University of West England, 1999), 69–75. 9 Victoria Bladen, “The tree of life motif as renaissance
cultural rhizome: An interdisciplinary mapping of
arboreal imagery in biblical text, early European visual
culture and dramatic text (Shakespeare’s Titus Andron-
icus),” in ed. N. Ramiere and R. Varshney, Rhizomes:
Connecting Languages, Cultures and Literatures (Cambridge:
Cambridge Scholars Publishing, 2007), 133–154. 18 For the Collinson-Bartram exchange, see Jean O’Neill,
Peter Collinson and the Eighteenth-century Natural History
Exchange (Philadelphia: American Philosophical Soci-
ety, 2008) and America’s Curious Botanist: A Tercenten-
nial Reappraisal of John Bartram, 1699–1777, ed. Nancy
E. Hoffmann and John C. Van Horne (Philadelphia:
American Philosophical Society, 2004).
10 Lottlisa Behling, Die Pflanze in der Mittelalterlichen
Tafelmalerei (Weimar: H. Böhlaus Nachfolger, 1957). 19 On the relationship of architecture to mnemonic aids,
see Heinrich F. Plett, Rhetoric and Renaissance Culture
(Berlin: De Gruyter, 2004), 202–207.
11 Hans Rupprich, Dürer Schriftlicher Nachlaß, vol. 3 (Ber-
lin: Deutscher Verein für Kunstwissenschaft, 1969),
295-296. Quoted in Koerner, Moment of Self-Portraiture,
163. For a description of Dürer’s nature studies in
watercolor, see Friedrich Piel, Albrecht Dürer. Aquarelle
und Zeichnungen (Köln: Dumont, 1983). 20 For a discussion of Paracelsus’ instruction “to hasten
to experience,” see Pamela H. Smith, “Making Things:
Techniques and Books in Early Modern Europe” in
Things, ed. Paula Findlen (London: Routledge, 2013),
174. For instructional texts aimed explicitly at women,
see Elizabeth Tebeaux, “Women and Technical Writing,
1475–1700: Technology, Literacy, and Development of a
Genre,” in Women, Science and Medicine 1500-1700: Mothers
and Sisters of the Royal Society, ed. Lynette Hunter and
Sarah Hutton (Thrupp, Stroud, Gloucestershire: Sutton
Publishing, 1997), 29–62.
12 Francis Ponge, Tome premier (Paris: Gallimard, 1965),
92. Christy Wampole, Rootedness: The Ramifications of a
Metaphor (Chicago: Univ